A History of Literary Criticism in the Renaissance, Հատոր 2
Columbia University Press, 1908 - 350 էջ
An essay examining the history of literary criticism in the Renaissance, with a focus on the sixteenth century. Divided into three sections devoted to: Italian criticism from Dante to Tasso, French criticism from Du Bellay to Boileau, and English criticism from Ascham to Milton. This study traces the origin of modern criticism to the critical activities of Italian humanism.
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according action actual Ages ancient answer Aristotelian Aristotle Aristotle's asserts attempt authority beauty beginning called Castelvetro century character classical comedy conception criticism deals Defence definition delight differ discussion distinction distinguished drama effect element emotions English entirely epic essential example expression fact follows formulated France French function Giraldi given gives Greek heroic human ideal ideas imitation important influence interesting Italian Italy language later Latin laws learning less limited literary criticism literature manner matters means merely mind Minturno moral nature objections origin passage perfect period philosophy pity Plato play poem poet Poetics poetry practice published question reason reference regarded Renaissance represented requirements result rhetorical rules says Scaliger seems seen sense Sidney similar single sixteenth century spirit stage Tasso teach theory things throughout tion tragedy tragic treatise true truth unity various verse virtue writers written
Էջ 105 - Be not too tame neither, but let your own discretion be your tutor ; suit the action to the word, the word to the action; with this special observance: that you o'erstep not the modesty of nature ; for anything so overdone is from the purpose of playing, whose end, both at the first and now, was and is, to hold, as 'twere, the mirror up to nature ; to show virtue her own feature, scorn her own image, and the very age and body of the time his form and pressure.
Էջ 80 - TRAGEDY, as it was anciently composed, hath been ever held the gravest, moralest, and most profitable of all other poems ; therefore said by Aristotle to be of power, by raising pity and fear, or terror, to purge the mind of those and such like passions, that is, to temper and reduce them to just measure with a kind of delight, stirred up by reading or seeing those passions well imitated.
Էջ 80 - ... to temper and reduce them to just measure with a kind of delight, stirred up by reading or seeing those passions well imitated. Nor is Nature wanting in her own effects to make good his assertion : for so in physic things of melancholic hue and quality are used against melancholy, sour against sour, salt to remove salt humours.
Էջ 287 - But deeds and language such as men do use, And persons such as Comedy would choose, When she would show an image of the times. And sport with human follies, not with crimes; Except we make 'em such, by loving still Our popular errors, when we know they're ill.
Էջ 28 - It is, moreover, evident from what has been said, that it is not the function of the poet to relate what has happened, but -what may happen, — what is possible according to the law of probability or necessity.
Էջ 275 - And therefore it was ever thought to have some participation of divineness, because it doth raise and erect the mind, by submitting the shows of things to the desires of the mind ; whereas reason doth buckle and bow the mind unto the nature of things.
Էջ 89 - Unity of plot does not, as some persons think, consist in the unity of the hero. For infinitely various are the incidents in one man's life which cannot be reduced to unity; and so, too, there are many actions of one man out of which we cannot make one action.
Էջ 278 - Half starved for want of her peculiar food: Sacred invention, then I must confirm Both your conceit and censure of her merit, But view her in her glorious ornaments, Attired in the majesty of art, Set...